STORYTELLER

I write for the stage and screen with a visual artist’s eye, a playwright’s sense of timing, and a long engagement with museums, heritage, and the public life of culture.

My work is interested in how attention moves: how a room listens, how an image lingers, how comedy can sharpen rather than soften a difficult truth. I am drawn to stories with wit, structure, and atmosphere, where charm and disturbance are not opposites but partners.

Across theatre and film, I think of storytelling as a shaped experience. Sequence matters. Framing matters. What an audience carries from one scene to the next matters. I am interested in work that is formally alive, emotionally precise, and intelligent without becoming heavy with its own intentions.

CURRENT WORK

Moments in Spring

Antisemitism does not arrive only as violence. It also arrives as distortion, scapegoating, euphemism, selective memory, and pressure to look away. Moments in Spring answers with theatre: humor, music, memory, argument, and moral clarity.

A dark musical comedy about Antisemitism and Allyship, unfolding like a puzzle the audience actively seeks to solve, with music acting as archive,  inheritance, prayer, argument, and survival.

Collectors Cabaret (In development)

A new comedy of manners set in a grand manor on Long Island’s East End during the Roaring Twenties. Collectors’ Cabaret explores the extravagant passions, vanities, and rivalries of art collectors and the colorful cast of characters who indulge, exploit, and profit from their obsessions. Artists, critics, dealers, advisers, decorators, butlers, and an assortment of social opportunists collide in a glittering world where taste is currency, connoisseurship is seduction, and every acquisition conceals a hidden agenda. Amid jazz, champagne, and exquisitely disguised indiscretions, fortunes and reputations hang in the balance. And in a world where everyone is collecting something, the question remains: who possesses whom, and what, precisely, is for sale?

Mayfair 1931 

A seductive, socially dangerous period play set in the shadow of London’s 1931 art world. In the elegant rooms of an antiques dealer family, scholarship, desire, money, and empire collide when a rare treasures becomes the center of a battle over ownership and meaning. The family must decide whether entry into British cultural prestige is worth the price of being consumed by it. All the while, chamber music threads through the action, punctuating intentions that cannot be spoken and deepening the emotional charge beneath the play’s wit and polish.

Ferdowsi 

A bold new stage drama set in late-1920s Tehran, where glamour masks rivalry and culture is the most elegant weapon in the room. In a world of poets, power brokers, and social tacticians, the battle over art, legacy, and national identity turns intoxicating, combustible, and deeply personal. Smart, sensual, and laced with biting humor, Ferdowsi transforms a struggle over cultural memory into a riveting theatrical event.

SCREEN WORK

My screen work includes short, documentary, animation, and experimental forms. I am drawn to stories that resist neat endings and to films in which mood, structure, and afterimage carry as much force as plot.

Selected works include Steely Eyed Samurai (2015), Maria’s Comet (2014), Nantucket Atheneum (2013), Seated Nude Back (1998), Jennifer Ricci: Portrait of a Poet (1999), and Waiting for Van Gogh (1999). Current and earlier feature projects include The Dealer and Rene.

CONVERSATIONS

Alongside my own creative work, I have spent years producing and conducting interviews with artists, curators, and cultural thinkers through MuseumViews and GSHA.tv. That work deepened my sense that the most revealing part of a story is rarely the loudest, and that listening is one of narrative’s great shaping tools.